WEBVTT

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THE ARTISTIC SIDE OF FILM
MAKING.


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A PHOTOGRAPHER CAPTURES THE
BEAUTY OF THE AMERICAN


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SOUTHWEST.
A SCULPTOR FINDS INSPIRATION


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IN A LONG-AGO ERA.
AND AN ARTIST GIVES A NEW


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HOME.
ALL AHEAD ON THIS EDITION OF


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ART.
>> ART IS MADE POSSIBLE BY


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THE KELSO FOUNDATION.
THE ELIZABETH CHARITABLE


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FOUNDATION.
AND VIEWERS LIKE YOU.


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ART IS PRESENTED BY THE TOE
BIN CENTER FOR THE PERFORM


00:55.534 --> 00:57.834
ING ARTS, OPENING IF
2014.


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PROVIDING THE BEST PLACE
ANYWHERE TO SEE AND HEAR A


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LIVE PERFORMANCE.
SAN ANTONIO'S FUTURE OF THE


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PERFORMING ARTS, THE TOBIN
CENTER.


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>> HI, I'M ASIA CONVENIENT
OVERTIME EVERYONE LOVES AN


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ASIA CIARAVINO.
EVERYONE LOVES A GOOD MOVIE.


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BETTER THAN THAT IS MEETING
THE ACTORS, WRITERS AND


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DIRECTORS.
YOU CAN DO BOTH AT THE UP


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COMING FILM FESTIVAL IN
SAN ANTONIO.


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ONE OF THE ALL-TIME GREAT,
JOHNNY CASH.


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I BELIEVE THIS IS A TEXAS
PREMIER OF THIS IT FILM.


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CALLED MY FATHER, THE MAN IN
BLAFNLGT IT'S TOLD -- THE


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DOCUMENTARY TOLD THROUGH THE
EYES OF THE SON OF THE


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MANAGER OF JOHNNY CASH.
AND SO THE SON DID NOT KNOW


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HIS FATHER BECAUSE HE WAS
ALWAYS ON THE ROAD WITH


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JOHNNY CASH.
FOR YEARS AND YEARS.


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AND SO WHEN HIS FATHER
PASSED, HE CAME ACROSS HIS


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STORAGE FACILITY OF
AUDIOTAPES TAPES, THE REAL


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REEL TO REEL TAPES HIS
FATHER MADE ON THE ROAD,


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EVERY DAY, OR EVERY NIGHT
WHILE ON THE ROAD WITH


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JOHNNY CASH.
THE GOLD RECORD OF A BOY


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NAMED SUE COMMEMORATEDED THE
SALE OF 1 MILLION COPIES.


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>> HE IN DETAIL EXPLAINED
DAY-TO-DAY OPERATIONS WITH


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THE MAN IN BLACK.
AND SO IT WAS REALLY, REALLY


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WELL DONE.
I MEAN, IT'S JUST A


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BEAUTIFUL FILM, AND WE'RE
PROUD THAT -- IT'S A


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CANADIAN FILM AND WE'RE
PROUD THEY CHOSE OUR


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FESTIVAL TO SCREEN IT.
>> EVERYONE AROUND JOHNNY,


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INCLUDING SAUL, HAD TRIED TO
TALK HIM INTO REHAB, BUT IT


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WAS THE THREAT OF LOSING
JUNE THAT MADE HIM CHANGE.


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FINALLY, JOHNNY CASH
SEQUESTERED HIMSELF AT HOME


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TO DETOX.
THREE YEARS HAD PASSED SINCE


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JOHNNY SCORED A NUMBER ONE
HIT.


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SO SAUL PRESSED JOHN TOI
SWITCH PRODUCERS.


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JOHNNY, LAST WEEK WE DISCUSS
ED BOB JOHNSTON AND


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DON, I'VE GIVEN THE
SITUATION A LOT OF THOUGHT.


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I URGE YOU TO IMMEDIATELY GO
WITH JOHNSTON.


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NO ONE IS PERFECT, AND
SOMETIMES YOU HAVE SHOWN


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POOR JUDGMENT.
BOB JOHNSTON IS CREATIVE


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ENOUGH TO PRESENT EXCITING
IDEAS.


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THE TIME IS RIGHT FOR A
CHANGE AND IT SHOULD BE NOW.


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I THINK JOHNSTON CAN BRING
YOU TO THE NEXT PLATEAU.


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JOHNNY HAD WANTED TO RECORD
A PRISON SHOW FOR YEARS, BUT


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AFTER THE MISFIRE AT
CARNEGIE HALL, COLUMBIA


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WASN'T LISTENING.
IT WAS BOB JOHNSTON WHO


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OPENED THE GATES TO FOLSOM.
AND IT WAS JOHNSTON WHO CAME


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UP WITH A NEW WAY TO OAPT
SHOW.


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S AND HE ASKED ME IF I WOULD
COME ON AND SAY HELLO, I'M


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JOHNNY CASH.
AND THEN KICK OFF FOLSOM


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PRISON BLUES.
SO WHEN I SAID HELLO, I'M


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JOHNNY CASH.
THE ROOM WAS -- THE ROOF WAS


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RAISED.
>> I HEAR THE TRAINING, IT'S


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ROLLING AROUND THE BEND.
¶.


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>> I WAS JUST PLAYING.
>> NO, SIR, YOU DON'T PLAY


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LIKE THAT.
YOU WILL NOT DISRESPECT YOUR


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BROTHER WITH ALL THE NAME
CALLING.


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NOT UNDER OUR ROOF.
SO CONSIDER YOUR WEEKEND


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CANCELED.
>>S BUT MOM, I WAS JUST


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PLAYING WITH HIM.
>> SUCH A CRY BABY.


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>> QUIT CALLING ME NAMES.
>> HEY, STOP IT.


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>> BUT DAD.
>> THAT'S ENOUGH.


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GIVE YOUR FATHER HIS MONEY
BACK AND EXCUSE YOURSELF


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FROM THIS TABLE.
NOW.


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AND LET ME TELL YOU
SOMETHING ELSE, SHAWN, KEEP


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CALLING YOUR BROTHER NAMES,
YOU WILL BE PULLED FROM


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FOOTBALL.
DO WE UNDERSTAND EACH OTHER?


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DO WE UNDERSTAND EACH OTHER,
SHAWN?


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>> ANSWER YOUR MOTHER,
SHAWN.


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>>S YES.
>> IN FACT, GIVE ME YOUR


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PHONE.
>> SUCH AN EPIDEMIC, I THINK


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YOU SEE ENOUGH LIKE THE
TREVOR PROJECT, YOU SEE


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ENOUGH ADVERTISEMENTS AT
THIS POINT TO GET THAT, AND


05:33.178 --> 05:35.011
POSITIVE MESSAGES ABOUT
BULLYING.


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OUR FILM IS WHAT IF IT
DOESN'T GET BETTER.


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PLAYING WITH THE AUDIENCES
THAT SEE IT, THEY REALIZE,


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HEY, IT MAY NOT GET BETTER.
AND YOU KNOW, DON'T TAKE


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THAT -- AND THEY'LL TAKE
THAT EXTRA STEP TO JUMP IN


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ON A BULLYING ISSUE.
WRITING FOR ME, I WRITE ALL


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OF MY STUFF.
SO I ENJOY IT BECAUSE I HAVE


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ALL THESE CHARACTERS.
AS FAR AS THE FILM MAKING


06:01.039 --> 06:03.740
PART, YOU HAVE YOUR --
YOU'RE BASICALLY CAPTAIN OF


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THIS TEAM.
AND IT'S MORE STRESSFUL


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BECAUSE YOU HAVE ALL OF
THESE PEOPLE YOU HAVE TO


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TAKE CARE OF.
SO IT'S A BIG COLLABORATIVE


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EFFORT, AND AS A PRODUCEER
AND DIRECTOR AS WELL, IT'S,


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YOU KNOW, YOU SPEND MORE
TIME DOING, I CALL IT DAMAGE


06:17.389 --> 06:19.088
CONTROL.
JUST MAKING SURE EVERYTHING


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IS RIGHT.
>> COME ON, GUYS.


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>> HE JUST CAME AS
INTERESTED IN THE CINEMA


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ARTS.
AND LIKE ANYTHING, YOU KNOW,


06:37.609 --> 06:41.978
HIS CAREER CHANGED.
IN LEARNING MORE AND DEVELOP


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ING HIS SKILL.
AND SO THIS YEAR WE'RE PROUD


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TO SHOW HIS -- I BELIEVE
IT'S HIS FIRST FEATURE FILM.


06:50.955 --> 06:59.562
>> YOU GUYS ARE LIARS.
YOU DON'T EVEN TRY.


06:59.564 --> 07:03.065
>> TRY NOT TO BE A JERK THE
REST OF YOUR LIFE.


07:03.067 --> 07:07.470
>> HEY, YOU LOVE THIS JERK.
>> NOT ANYMORE.


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>> IT'S REALLY WELL DONE.
SO I'M VERY PROUD TO HAVE


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FOSTERED THAT, TO HAVE
NURTUREED HIS TALENT IN THAT


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SENSE.
>> I JUST HOPE I GET HIS


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FINANCIAL STATUS.
BUT YEAH, I HAVE BEEN TOLD


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THAT I AM HUMBLEED BY THE
COMPLIMENT.


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SO WE'LL SEE.
¶ IT STARTED WHEN I WAS 22,


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NO IDEA WHAT I WAS DOING.
NOW IT'S FULL THROTTLE.


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IT'S A BUSINESS, A NONPROFIT
ORGANIZATION.


07:43.875 --> 07:51.214
AND SO I MEAN, WE'RE HERE TO
ESSENTIALLY NURTURE AND


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FOSTER FILM MAKERS AND
SPREAD THE WET WEALTH AS FAR


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AS EDUCATING THE GENERAL
PUBLIC.


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THE FOOTPRINT OF SAN ANTONIO
, PEOPLE THAT ARE


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INTERESTED IN LEARNING, IN
BECOMING TRAINED IN THE ARTS


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.  AND WE OFFER THE
WORKSHOPS, LIKE I MENTIONED.


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AND I KNOW IF YOU WENT
EXHIBIT MILES NORTH OF HERE,


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HERE -- 60 MILES NORTH OF
HERE, YOU PAY A PRETTY PENNY


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FOR INFORMATION WE GIVE AWAY
FREELY.


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THESE ARE FIRST RUN FILMS,
AND IT'S MADE WITH PASSION.


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AND THEY'RE ALL NO, AND LOW
BUDGET FILMS.


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IT'S JUST A GREAT THING TO
BE A PART OF A FILM SCREEN


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ING, ESPECIALLY WHEN
THE FILM MAKERS ARE IN


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ATTENDANCE, JUST TO KNOW, I
MEAN, THEY'RE HEARTFELT


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STORIES ABOUT HOW THE FILM
WAS MADE.


08:44.802 --> 08:49.839
WE'VE BEEN DOING THIS FOR 19
YEARS, AND SO I THINK WE'RE


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UNDER THE RADAR STILL IN
TERMS OF AN ART EVENT IN OUR


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CITY.
AND SO I THINK THE CHANGE --


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TO CHANGE THAT, WE'RE
BRINGING POUR HOLLYWOOD


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ACTORS -- MORE HOLLYWOOD
ACTORS TO THE RED CARPET TO


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BE PART OF THE FESTIVAL.
AND THAT'S A GOOD THING


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BECAUSE IT DOES -- PEOPLE
GET EXCITED ABOUT THAT.


09:15.667 --> 09:20.002
>> SAN ANTONIO FILM FESTIVAL
OPENS JUNE 17 AT HEMISPHERE


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PARK.
FREE FAMILY SCREENING OF THE


09:21.973 --> 09:24.574
HISTORICAL DOCUMENTARY,
TEXAS BEFORE THE ALAMO.


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AUDIENCE MEMBERS SPOKE TO
HELP PICK THE WINNERS OF THE


09:27.845 --> 09:30.713
2 OF 10 AWARDS.
IF YOU'VE GOT A FILM CRITIC


09:30.715 --> 09:32.782
IN THE FAMILY, HERE'S THEIR
CHANCE.


09:32.784 --> 09:36.252
FOR A COMPLETE SCHEDULE OF
FILMS GO TO ESSAY FILMS.COM.


09:36.254 --> 09:40.356
AND NOW HERE ARE A FEW ART
EVENTS HAPPENING NEXT WEEK


09:40.358 --> 09:57.540
IN SAN ANTONIO.
>> TO ADD YOUR ART EVENT TO


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THE CALENDAR, VISIT KLRN.ORG
/ARTS.


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IN THE MIDST OF THE AMERICAN
SOUTHWEST LANDSCAPE,


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PHOTOGRAPHER MICHAEL BERMAN
STRIVES TO CAPTURE THE


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BEAUTY OF THE NATURAL WORLD.
BERMAN'S FOCUS STEMS FROM


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HIS FASCINATION WITH THE
RELATIONSHIP BETWEEN PEOPLE


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AND MOTHER NATURE.
TAKE A LOOK.


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>> THE LAND AND ESPECIALLY
THE AMERICAN WESTERN


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LANDSCAPE HAS SOMETHING
THAT'S REALLY HARD TO FIND.


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THAT'S SPACE TO GO OFF ALONE
.


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AND I THINK THAT ALLOWS YOU
TO HAVE BOTH AN INNER


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DIALOGUE AS WELL AS A
DIALOGUE THAT'S RELEVANT TO


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THE LARGER COMMUNITY.
AND IT REALLY IS AN AMAZING


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THING TO BE ABLE TO DRIVE
DOWN A ROAD, COME THROUGH A


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GATE, OPEN IT UP, DRIVE KNEW
THE GATE AND GET OUT OF YOUR


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TRUCK AND WALK.
PEOPLE HAVE WAYS OF


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UNDERSTANDING THE BIGGER
THINGS, AND WE DO THAT WITH


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SYMBOLIC SSSMENTS WE'RE
REALLY ALWAYS THINKING ABOUT


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THESE LARGER MIST TRIS OF
WHAT'S IMPORTANT AND HOW DO


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WE CONNECT IN THAT.
IN TERMS OF THE LAND, THERE


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ARE TWO DIFFERENT WAYS OF
DEFINING HOW WE'RE SEEING


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THE LANDSCAPE.
AND REALLY IN THE


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CONTEMPORARY WORLD IS HUMANS
HAVE IT N CREDIBLE CAPACITY


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TO USE THINGS AND WE
INTERPRET THE WORLD'S VALUES


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THROUGH WHAT WE CAN USE.
RIGHT NOW SCIENCE IS THE


11:40.244 --> 11:42.278
ULTIMATE AFFIRMATION OF THAT
.


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YOU'LL FIND ANY ISSUE WITH
LAND USE, WHERE IT'S FIRE,


11:46.484 --> 11:52.421
WATER, THE ECOSYSTEM, IT'S
ALWAYS THIS IDEA, WELL, WE


11:52.423 --> 11:55.458
CAN FIGURE THIS OUT THROUGH
SCIENCE AND MANAGEMENT.


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AND I ACTUALLY LOOK AT IT
ANOTHER WAY.


11:59.731 --> 12:03.532
MANY OF THE GREAT PROBLEMS
WE'RE FACING, FIRE, YOU KNOW


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, INTRODUCED SPECIES,
ARE ACTUALLY SOMEBODY WHO


12:06.237 --> 12:09.105
THOUGHT THEY COULD FIGURE IT
ALL OUT IN A REAL SIMPLE WAY


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AND THEN APPLIED SIMPLE
SOLUTIONS.


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BUT YET THERE'S THESE BIGGER
COMPLEX SYSTEMS, AND I THINK


12:14.479 --> 12:18.347
ART IS REALLY A WAY, AND
AESTHETICS IS A WAY OF


12:18.349 --> 12:22.318
GETTING BEYOND THE IDEA THAT
I CAN REDUCE IT TO SMALL


12:22.320 --> 12:24.620
THINGS BUT CAN LOOK AT THE
WHOLE AND ADMIT I DON'T


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UNDERSTAND IT BUT ACTUALLY
BEGIN TO SEE BOTH ITS


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MANIFEST STRUCTURE AS WELL
AS INHERENT VALUE.


12:49.013 --> 12:54.950
>> IT'S KIND OF AN AMAZING
PLACE, GI LA.


12:54.952 --> 12:59.421
IN THAT MANY CONCEPTS THAT
PEOPLE ASSUME EVERYBODY


12:59.423 --> 13:02.258
KNOWS AND UNDERSTAND, OR
EVERYONE IS COMFORTABLE WITH


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, ACTUALLY EMERGE HERE.
A PLACE THAT STILL TEACHES.


13:11.402 --> 13:16.472
OVER TIME, I'VE LEARNED, YOU
KNOW, HOW TO SEE A LANDSCAPE


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.
THE GI LA, IS ONE OF THE


13:19.343 --> 13:23.779
LAST TRULY WILD FORESTS
THAT'S LEFT ON THE PLANET.


13:23.781 --> 13:26.749
AND ESPECIALLY THE PONDEROSA
, THE LARGE YELLOW


13:26.751 --> 13:30.586
FINE FORESTS.
IT'S STILL A COMPLEX


13:30.588 --> 13:34.757
ECOSYSTEM.
THAT IS WORKING.


13:34.759 --> 13:40.229
AND BY WORKING, WHAT I MEAN
IS THAT IF YOU LEAVE IT


13:40.231 --> 13:44.633
ALONE, IF HUMANS DON'T
INTERACT WITH IT, IT HAS A


13:44.635 --> 14:16.632
DIMENSIONAL COMPLEXITY.
FOR ME, FOAT GREAFER IS A


14:16.634 --> 14:22.271
WAY OF -- PHOTOGRAPHY IS A
NOT THE BEGINNING POINT.


14:22.273 --> 14:24.640
AND I OFTEN FIND THERE'S A
LONG PERIOD OF TIME WHERE I


14:24.642 --> 14:28.477
LIKE TO LOOK AT THINGS.
I REALLY SEE MY TRUE WORK IS


14:28.479 --> 14:30.212
LOOKING CLOSELY AT
SOMETHING.


14:30.214 --> 14:32.882
I LIKE TO THINK AT SOME
POINT IN TIME, I MAKE


14:32.884 --> 14:36.418
PHOTOGRAPHS.
BECAUSE I FEEL IT'S


14:36.420 --> 14:38.854
IMPORTANT TO MAKE THOSE
PHOTOGRAPHS.


14:38.856 --> 14:44.660
AS AN ARTIST, ONE HAS TO
FIND SOMETHING OUTSIDE ONE'S


14:44.662 --> 14:51.634
SELF THAT'S MORE IMPORTANT.
IF YOU LOOK AT THE TRADITION


14:51.636 --> 14:54.603
OF LANDSCAPE PHOTOGRAPHY,
AND ESPECIALLY IN THE


14:54.605 --> 14:57.039
AMERICAN WEST, WHICH IS
REALLY ONE OF THE ICONIC


14:57.041 --> 15:01.310
PLACES WHERE PEOPLE GO TO
MAKE FOAT DPRAFS, -- GOAT


15:01.312 --> 15:05.014
GRAPHS IS -- PHOTOGRAPHS IS
PEOPLE IMPOSING A VISION ON


15:05.016 --> 15:08.183
IT THAT THEY ALREADY KNOW,
UNDERSTAND OR BELIEVE IN.


15:08.185 --> 15:12.955
AND I ACTUALLY THINK THAT
OUR UNDERSTANDING OF THE


15:12.957 --> 15:15.124
LAND HAS TO EVOLVE BEYOND
THAT.


15:15.126 --> 15:17.660
BECAUSE WHAT ENDED UP
HAPPENING IS THAT WHEN WE


15:17.662 --> 15:20.062
THINK ABOUT SAVING A
LANDSCAPE, WE HAVE TO HAVE


15:20.064 --> 15:25.034
THE CATHEDRAL FORMS, THIS
GREAT CANYON, OR WE HAVE TO


15:25.036 --> 15:30.039
HAVE IT PRISTINE LANDSCAPE.
AND WHAT IT TURNS OUT IS


15:30.041 --> 15:34.443
THAT MANY OF THESE ECO
SYSTEMS, I LIKE TO USE


15:34.445 --> 15:39.148
THE -- IS THEY'RE NOT THIS
BIG OBVIOUS REALLY, REALLY


15:39.150 --> 15:42.284
WOW, I JUST HAVE TO STAND ON
THE EDGE OF THIS AND GET THE


15:42.286 --> 15:45.254
IM AX GOING.
THEY'RE ACTUALLY VERY SUBTLE


15:45.256 --> 15:50.392
OR NOT EVEN IN CLOSE THAT
PRETTY BUT THEY CAN BE QUITE


15:50.394 --> 15:53.495
WONDERFUL AS WELL, WITHIN.
AND IF YOU SPEND TIME, YOU


15:53.497 --> 15:57.499
KNOW, YOU BEGIN TO SEE THE
INNATE BEAUTY.


15:57.501 --> 16:01.203
AND I THINK A GIFT LIKE THAT
IS THE SAME GIFT, YOU KNOW,


16:01.205 --> 16:05.574
THE GREATEST LITERATURE, OR
PHILOSOPHY, OR ART, THE


16:05.576 --> 16:11.580
ABILITY TO COME TO THE WORLD
ANEW AND SEE IN ALL ITS


16:11.582 --> 16:27.963
MANIFEST BEAUTY.
WHAT PHOTOGRAPHY ALLOWS ME


16:27.965 --> 16:31.333
TO DO IS THIS AMAZING
LOOKING AT THE LAND, AT


16:31.335 --> 16:34.436
PLACES.
I DON'T HAVE THE PATIENCE OR


16:34.438 --> 16:37.873
INTEREST TO MAKE A CERTAIN
KIND OF LANDSCAPE PHOTOGRAPH


16:37.875 --> 16:39.575
.
BUT I LOVE LOOKING AT THINGS


16:39.577 --> 16:41.844
.
AND SO RATHER THAN TRYING TO


16:41.846 --> 16:47.816
MAKE SOMETHING THAT REALLY,
YOU KNOW, IS THIS KIND OF


16:47.818 --> 16:51.553
GRAND LANDSCAPE, WHICH I
DON'T REALLY ENJOY, OR HAVE


16:51.555 --> 16:54.656
PATIENCE FOR QUITE THAT MUCH
ANYMORE, IS THAT THE MORE


16:54.658 --> 17:00.095
SUBTLE THINGS THAT I JUST
FIND AMAZING.


17:00.097 --> 17:10.339
IS WHAT MY WORK BECOMES
ABOUT.


17:10.341 --> 17:12.574
WHEN ASK YOU AN ARTIST ABOUT
WHAT THEY HOPE TO ACHIEVE


17:12.576 --> 17:16.545
WITH THEIR WORK, IS
SOMETIMES YOU CAN SAY


17:16.547 --> 17:20.449
ACHIEVING MEANS, YOU KNOW,
MAKING THE HISTORY BOOKS.


17:20.451 --> 17:23.619
BEING CONSIDERED AN
IMPORTANT ARTIST.


17:23.621 --> 17:27.956
RATHER THAN MY WORK BEING
SAVED, I'D MUCH RATHER SEE


17:27.958 --> 17:30.759
SOME OF THESE MACES BE SAVED
I DON'T THINK MY WORK IS


17:30.761 --> 17:35.230
SIGNIFICANT AT ALL.
I THINK THESE PLACES ARE.


17:35.232 --> 17:40.035
>> TO FIND OUT MORE ABOUT
MICHAEL BETTER BERMAN, VISIT


17:40.037 --> 17:44.006
FRAGMENTED IMAGES.COM.
SCULPTOR GARY WEISMAN MOLDS


17:44.008 --> 17:46.875
BRONZE AND CLAY INTO LARGE
SCALE FIGURES, THAT CHANNEL


17:46.877 --> 17:50.179
THE ART OF ANCIENT GREECE
AND ITALY.


17:50.181 --> 17:53.415
HE TAKES US INTO HIS
WORKSHOP TO SHOW HOW HE


17:53.417 --> 18:24.379
MAKES HIS GRAND SCULPTURES.
>> MY NAME IS GARY WEISMAN,


18:24.381 --> 18:28.250
AND I MAKE CLASSICAL BRONZE
SCULPTURES.


18:28.252 --> 18:32.354
THEY'RE VERY TRADITIONAL.
THE GREEKS ARE A VERY BIG


18:32.356 --> 18:35.757
INFLUENCE, AND ALSO THE
ITALIAN RENAISSANCE ARE A


18:35.759 --> 18:46.435
BIG INFLUENCE.
I DON'T TEND TO LOOK AT


18:46.437 --> 18:48.737
WHAT'S GOING AROUND ME.
I TEND TO LOOK BACK IF TERMS


18:48.739 --> 18:59.648
OF INFLUENCES HISTORICALLY.
WE TRAVEL TO ITALY, MAYBE


18:59.650 --> 19:03.919
ONCE A YEAR FOR ABOUT 3
WEEKS AND DRAW OSTENSIBLY


19:03.921 --> 19:13.028
NONSTOP, 9 HOURS A DAY.
THE INFLUENCES ARE USED IN


19:13.030 --> 19:24.006
THE POSES I DO HERE.
MY MAIN ENERGY IS ON


19:24.008 --> 19:28.977
CLASSICAL NEWS.
-- CLASSICAL NUDES AND I


19:28.979 --> 19:31.780
THINK AS FAR AS PUBLIC
COLLECTIONS GO, MUSEUMS, OUT


19:31.782 --> 19:36.752
DOOR SITUATIONS, THE NUDE
IS WAY BLOCKED IN THIS


19:36.754 --> 19:39.188
COUNTRY.
YOU SEE A LOT OF THEM IN


19:39.190 --> 20:00.142
EUROPE, ALTHOUGH I DON'T
KNOW HOW CONTEMPORARY.


20:00.144 --> 20:05.180
BEEN DOING SOME CANTILEVERED
LIFE SIZE PIECES.


20:05.182 --> 20:08.650
A MIX, THE POSSIBILITIES OF
ARCHITECT TRY KIND OF WHAT


20:08.652 --> 20:19.461
BRONZE STRUCTURALLY CAN DO.
SO COMPLETELY HOVER


20:19.463 --> 20:24.166
HORIZONTALLY WITH NO SUPPORT
.


20:24.168 --> 20:28.837
BUT I'M WORKING ON FEMALE
CRUISE FIXES AND I DON'T


20:28.839 --> 20:34.943
REALLY KNOW WHY.
PIECES HAVE BACK LOT MORE


20:34.945 --> 20:39.114
NARRATIVE NOW.
SO THAT'S KIND OF EXCITING.


20:39.116 --> 20:42.985
I'M SORRY THEY'RE SO TORTURE
ED RIGHT NOW.


20:42.987 --> 20:44.686
YOU HAVE TO LISTEN TO THESE
THINGS.


20:44.688 --> 20:48.724
YOU KNOW, YOU'RE LISTENING
TO A DRAWING.  IT'S


20:48.726 --> 20:55.998
HAPPENING TO A SCULPTURE.
AND WORKING ON EMPOWERED


20:56.000 --> 21:01.803
KIND OF PIECES WHICH ARE
BASED ON GREEK HEROS WITH


21:01.805 --> 21:18.920
WEAPONS.
>> KIND OF TRICKY BUSINESS,


21:18.922 --> 21:22.591
VERY STRESSFUL.
I STARTEDED DOING THIS IN


21:22.593 --> 21:29.464
THE MID '70S.
WHEN I DO THE POURS, I POUR


21:29.466 --> 21:35.704
1500 TO -- 1500 TO
2000 POUNDS IN A DAY OR SO.


21:35.706 --> 21:38.940
DURING A POUR, I HAVE MY EX-
STUDENTS COME UP FROM THE


21:38.942 --> 21:46.114
PENNSYLVANIA ACADEMY IN
PHILADELPHIA.


21:46.116 --> 21:48.784
THERE'S A RAPPORT I HAVE
WITH THE METAL.


21:48.786 --> 21:52.621
WHAT I -- TO WOULD I DO
THESE THINGS IF THEY DIDN'T


21:52.623 --> 21:54.823
SELL?
YEAH, I WOULD.


21:54.825 --> 21:57.592
I THINK IT'S CRITICAL TO
ALWAYS STAY FOR ME IN THE


21:57.594 --> 22:01.596
PLACE OF NOT KNOWING.
I DON'T KNOW.


22:01.598 --> 22:05.400
AND FINDING AN EXPERIENTIAL
CONNECTION THROUGH SOME FORM


22:05.402 --> 22:11.940
OF NONINTELLECTUAL SENSATION
THAT WILL HOLD MY INTENSITY


22:11.942 --> 22:18.513
OF FOCUS.
WE'RE WRITING A STORY, I


22:18.515 --> 22:22.084
DON'T HAVE FINITE FIXED END
ING.


22:22.086 --> 22:28.423
IT'S AN EVOLUTION.
>> TO FIND OUT MORE, VISIT


22:28.425 --> 22:32.828
GARY WEISMAN.NET.
WITH A DO YOU GET WHEN A


22:32.830 --> 22:36.131
SACRAMENTO ARTIST COMBS THE
CARIBBEAN FOR UNIQUE ART AND


22:36.133 --> 22:46.608
ADDS HER OWN TOUCH?
ROB STEWART GIVES US A LOOK.


22:46.610 --> 22:49.644
>> WE'RE CELEBRATING THE
WORLD OF ART TODAY AT THE


22:49.646 --> 22:52.314
KUUMBA COLLECTIVE ART
GALLERY IN SACRAMENTO WITH


22:52.316 --> 22:54.216
SACRAMENTO ARTIST ADELLE
JAMES.


22:54.218 --> 22:56.752
GOOD TO SEE YOU.
>> THANK YOU FOR COMING TO


22:56.754 --> 22:58.787
KUUMBA.
>> A BEAUTIFUL PLACE HERE.


22:58.789 --> 23:02.023
I LOVE YOUR WORK, YOU'VE
TEAMED UP WITH AN ARTIST IN


23:02.025 --> 23:04.826
TRINIDAD AND CAPTURE HIS ART
AND YOU BRING IT TO AMERICA


23:04.828 --> 23:06.361
AND GIVE IT A WHOLE NEW LIFE
.


23:06.363 --> 23:11.066
TELL ME ABOUT AT THAT.
>>.


23:11.068 --> 23:14.102
>> I WAS INSPIRED BY FOLK
ARTISTS IN TRINIDAD AND


23:14.104 --> 23:17.105
TOBAGO AND I HAD SAW HIS
WORK.


23:17.107 --> 23:20.075
BUT WHAT THAT EVOLVED INTO
WAS THIS IDEA OF CARIBBEAN


23:20.077 --> 23:22.878
ART PROMOTION AS A WAY TO
REALLY PROMOTE AND BRING


23:22.880 --> 23:27.449
AWARENESS TO FOLK ART OF THE
CARIBBEAN AND IT'S A


23:27.451 --> 23:30.285
COLLABORATIVE EFFORT.
SO WHAT I DO IS I PHOTOGRAPH


23:30.287 --> 23:35.857
THE WORK BUT ALSO PHOTOGRAPH
DIFFERENT IMAGES TO CREATE


23:35.859 --> 23:43.665
THESE PIECES, AND THEN WHEN
THE ITEM -- SHARE THE --


23:43.667 --> 23:48.937
CREATE NEW FORM.
I PUT THE WORK ON DIFFERENT


23:48.939 --> 23:54.376
ITEMS FROM FUNCTIONAL ART
BASKET.


23:54.378 --> 23:56.511
THINKING ABOUT WORK THAT'S
AFFORDABLE, FUNCTIONAL.


23:56.513 --> 23:59.281
ALSO BEAUTIFUL.
AND AT THE SAME TIME, IT


23:59.283 --> 24:01.416
SHARES THE CULTURE AND
HISTORY OF THE CARIBBEAN.


24:01.418 --> 24:03.852
>> INTERESTING.
>> AND TO THINK ABOUT HOW


24:03.854 --> 24:06.621
CAN THESE ARTISTS BE
SUPPORTED IN CONTINUING TO


24:06.623 --> 24:11.426
DO WHAT THEY DO AND CREATING
OTHER FORMS THAT CAN BE


24:11.428 --> 24:14.229
EXTEND THE VALUE OF THE WORK
>> WHERE DO YOU GET YOUR


24:14.231 --> 24:18.500
INSPIRATION FROM?
>> I THINK FOR ME WHEN I


24:18.502 --> 24:21.269
LOOK AT THE PIECES, THEY
TELL A STORY.


24:21.271 --> 24:23.772
THE STORY OF A LOT OF PIECES
SHARES THE HISTORY OF THE


24:23.774 --> 24:31.746
REGION.
>> IT'S GETTING THE --


24:31.748 --> 24:34.249
GIVING THE ARTISTS IN
TRINIDAD NEW LIFE IN AMERICA


24:34.251 --> 24:38.820
>> A COLLABORATIVE EFFORT,
AND THAT'S HOW I LIKE TO


24:38.822 --> 24:41.590
WORK.
>> YOU'RE A NEW ARTIST.


24:41.592 --> 24:43.225
YOU HAVE BEEN DOING IT ABOUT
A YEAR.


24:43.227 --> 24:46.962
>> YES.
>> WHAT DOES IT MEAN TO HAVE


24:46.964 --> 24:49.731
A PIECE HERE IN ONE YEAR IN
' N?


24:49.733 --> 24:54.069
>> IT'S OVERWHELMING.
THIS WHOLE JOURNEY HAS BEEN


24:54.071 --> 25:00.909
OVERWHELMING.
SO FROM COMING TO KUUMBA AND


25:00.911 --> 25:05.280
HAVING THEM SAY WE WANT YOU
TO SHOW YOUR WORK HERE, TO


25:05.282 --> 25:09.351
DOING THE SECOND SATURDAYS,
AND THEN THE CROCKER.


25:09.353 --> 25:15.290
YOU KNOW, I HAVE TO BELIEVE
THAT IT'S NOT ABOUT ME.


25:15.292 --> 25:20.996
BUT THAT YOU KNOW, THIS IS
SOME OF THE THREEL I DISPLAY


25:20.998 --> 25:23.365
IN HELPING TO BRING
ATTENTION TO THIS WORK.


25:23.367 --> 25:26.801
AND I GET EXCITED ABOUT
DOING IT AS WELL.


25:26.803 --> 25:29.104
>> I CAN TELL.
AND IT'S BEAUTIFUL WORK.


25:29.106 --> 25:32.741
IT IS BEAUTIFUL ART, ADELLE
AND WE THANK YOU FOR SHARING


25:32.743 --> 25:35.477
IT WITH US.
ADELLE HERE IN SACRAMENTO,


25:35.479 --> 25:36.945
KUUMBA COLLECTIVE ART
GALLERY.


25:36.947 --> 25:39.014
GOOD TO SEE YOU.
>> THANK YOU.


25:39.016 --> 25:42.551
>> TO FIND OUT MORE, VISIT
THE KUUMBA COLLECTIVE ART


25:42.553 --> 25:45.253
GALLERY FACEBOOK PAGE.
THAT WRAPS IT UP FOR THIS


25:45.255 --> 25:47.689
EDITION OF ARTS.
WE'LL BE OFF FOR THE NEXT


25:47.691 --> 25:51.793
TWO WEEKS SO THAT KLRN CAN
BRING YOU ITS 47TH ANNUAL


25:51.795 --> 25:55.363
GREAT TV YAWKS SHUN.
UNTIL THEN, I'M ASIA


25:55.365 --> 25:59.901
CIARAVINO.
SEE YOU NEXT TIME.


25:59.903 --> 26:03.071
ART IS MADE POSSIBLE BY THE
KELSO FOUNDATION.


26:03.073 --> 26:06.241
THE ELIZABETH COATS
CHARITABLE FOUNDATION.


26:06.243 --> 26:11.880
AND VIEWERS LIKE YOU.
ARTS IS PRESENTED BY THE


26:11.882 --> 26:13.882
TOBIN CENTER FOR THE PERFORM
ING ARTS.


26:13.884 --> 26:17.552
OPENING IN 2014.
PROVIDING THE BEST PLACE


26:17.554 --> 26:20.755
ANYWHERE TO SEE AND HEAR A
LIVE PERFORMANCE.


26:20.757 --> 26:24.492
SAN ANTONIO'S FUTURE OF THE
PERFORMING ARTS, THE TOBIN


26:24.494 --> 26:58.393
CENTER.


27:44.874 --> 27:46.374
BAAH!

27:48.044 --> 27:49.310
SHEESH.

27:59.321 --> 28:00.722
[SIGHS]

28:03.192 --> 28:06.761
AWK! UH-OH.
AAH!

28:06.829 --> 28:08.329
- ALL RIGHT, FAIRIES!

28:08.397 --> 28:11.933
PLEASE SIT CRISSCROSS
APPLESAUCE BECAUSE IT'S

28:12.001 --> 28:14.903
TIME FOR...

28:14.970 --> 28:17.172
- AVAST, YE LANDLUBBERS!

28:17.239 --> 28:19.174
- AAH! A PIRATE?!

28:19.241 --> 28:21.543
- RELAX, GONNIGAN.

28:21.610 --> 28:23.712
GONNIGAN? WHERE'S GONNIGAN?

28:23.779 --> 28:25.747
- HE'S GONE AGAIN.

28:25.815 --> 28:27.582
- THIS ISN'T JUST ANY PIRATE.

28:27.650 --> 28:30.985
IT'S MY OLD FRIEND
CAPTAIN HOOK.

28:31.053 --> 28:34.622
WHAT BRINGS YOU HERE,
YOU SILLY OLD SEA SALT?

28:34.690 --> 28:39.561
- OH, MRS. SPARKLENOSE,
I'M SO SAD.

28:43.733 --> 28:47.235
I'VE LOST ME GOLDEN
PIRATE TREASURE.

28:47.303 --> 28:49.370
[SOBBING]

28:49.438 --> 28:51.139
- I DON'T UNDERSTAND.

28:51.207 --> 28:54.109
MY COUSIN TINKER BELL
ALWAYS TOLD ME THAT

28:54.176 --> 28:55.677
CAPTAIN HOOK WAS MEAN.

28:55.745 --> 28:59.414
- YEAH. ISN'T HE ALWAYS
TRYING TO CATCH PETER PAN?

28:59.482 --> 29:00.582
- NOT ANYMORE.

29:00.649 --> 29:02.984
I FOUND ME A NEW PAN.

29:03.052 --> 29:05.653
MEET PETER THE PAN.

29:05.721 --> 29:08.289
- I CAN FLY.

29:08.357 --> 29:10.992
- NO, YOU CAN'T.

29:11.060 --> 29:12.227
[CLATTER]

29:12.294 --> 29:14.729
SEE? NOW COME ON.

29:14.797 --> 29:17.766
WHO WANTS TO JOIN ME
PIRATE CREW AND HELP ME FIND

29:17.833 --> 29:19.400
THE GOLDEN TREASURE?

29:19.468 --> 29:20.668
- WE DO!

29:20.736 --> 29:21.703
- NOT ME!

29:21.771 --> 29:23.438
NO WAY I CAN BE A PIRATE!

29:23.506 --> 29:25.774
I DON'T HAVE A FRILLY SHIRT.

29:25.841 --> 29:30.044
- I THINK OUR DRESS-UP
CORNER CAN HELP.

29:30.112 --> 29:31.346
- COOL!

29:31.413 --> 29:33.982
- HA HA! NOW WE
CAN BE PIRATES!

29:34.049 --> 29:35.817
- ARR!

29:35.885 --> 29:37.051
- ALL RIGHT, CAPTAIN.

29:37.119 --> 29:38.953
HERE'S YOUR CREW.

29:39.021 --> 29:40.522
- HA HA HA! GREAT!

29:40.589 --> 29:44.092
NOW LET'S CHECK OUT ME MAGIC
TREASURE MAP AND SEE WHERE

29:44.160 --> 29:46.861
WE GO NEXT.

29:46.929 --> 29:50.929
THE MAP WANTS US TO FIND THE
ISLAND OF THE GUSHING GEYSER,